I
SCIENTIFIC
UNARMED COMBAT
The Art Of Dynamic Self-Defence
The Ancient Asian Psycho-Physical Study
by
R. A. VAIRAMUTTU
Master of "Cheena-Adi" and "Ju-jutsu" Self-Defence Arts
Founder and Chief Instructor,
School of Dynamic Self-defence
Foreword by
Hon. Sir Alan Edward Percival Rose, Kt., Q.G.,
M.A., LL.B., BarrLster-at-Law, Chief Justice of Ceylon
Illustrated
LONDON
W. FOULSHAM & Co. LTD.
NEW YORK TORONTO GAPE TOWN SYDNEY
VADE IN GRSAT BRITAIN
by William Brendon d Son, Ltd.
The Mayflower Press (late of Plymouth)
at Bushey Mill Lane
Watford, HerU.
FOREWORD
It is with pleasure that I commend this book
to the attention of the able-bodied citizens of this
island. Not only are the contents instructive, but of
definite value to anyone of us who may find him-
self confronted, unexpectedly enough, by some
such situation as is so effectively dealt with by the
author. The value of this type of exercise is that
it is unnecessary for the practitioner to be a man or
woman of unusual muscular development. Any
person of reasonable physique whose reflexes are
normally efl^icient should have little diflSculty in
mastering the defensive technique described in
the book and excellently illustrated by the numer-
ous photographs.
Practice, no Jioubt, is essential for successful
performance; but any careful reader who is pre-
pared to spend the necessary time should be able
to master, without difficulty, the basic principles
of self-defence as expounded in this book.
I wish this publication all success.
Alan Rose
Colombo.
1
CONTENTS
Foreword 5
Precepts 1 1
Preface 13
Introduction 17
Explanation of Illustrations 27
CHAPTER ONE
Defensive and offensive postures 31
CHAPTER TWO
Defences against a hand-squeeze from front and holds
from behind
Defence No. I. Hand-shake lock 34
Defences against holds from behind
Defence No. 2. Flying mare 37
A ground-lock 37
No. 3. The right elbow-dig 38
No. 4. A squat-on-knee breaker 39
Ground-locks 40
,, No. 5. A '^back-heel" scrotum kick 41
CHAPTER THREE
Defences against grips on waist 42
Defence No. i. Armpit collar-bone grip 42
No. 2. Head-to-foot twist 43
,, No. 3. An elbow break 43
7
8 CONTENTS
Defence No. 4. Double nerve-centre pinch
and come-along hold 44
No, 5. Elbow-break and throw 46
M No. 6* Forelock-hold, arm-lock 46
Additional defences 47
Defences against a push-^on-the-chest
Defence No. 7. **Spine-breaker" 47
Defences against arm-holds or pulls
Defence No. 8. The ''snake-coil grip"
and arm-lock 48
No. 9. Single-handed arm twist or
snake-coil grip 50
Defence against blindfolding from behind
Defence No. 10. A blindfold shoulder throw 51
CHAPTER FOUR
Defences against kicks 53
Defence No. i. A leg-hold turn-over throw 53
No. 2. Ankle-hold knee-breaker 54
No. 3. Standing leg-split 55
CHAPTER FIVE
Defences against club or pole attacks 56
Defence No. i. Arms-twist
and stomach-blow 57
,, No. 2. Arms-twist rod-end dig 58
Defence with a walking-stick
Defence No. 3. A dig at temple
58
CONTENTS 9
Defence No. 4. A leg-trip and push 59
Additional defences
Scrotum-blow or knee-
break 59
Defences against club attacks
Defence No. 5. An arm-lock 59
No. 6. A hand-twist and dig-at-rib 60
CHAPTER SIX
Defences against knife or dagger attacks 62
Defence No. i. Straight-arm elbow-break 63
No. 2. Bent-arm lock 64
„ No. 3. Standing-leg lock or
knee-break 64
„ No. 4. A shoulder-throw 65
„ No. 5. A hip-throw 65
A ground-lock 66
„ No. 6. Crotch-hold roll-over-
shoulders throw 66
No. 7. Roll-over-back throw 67
No. 8. Nape-hold somersault throw 67
A ground-lock 68
No. 9. Wrist-and-cheek hold
leg-trip 68
„ No. 10. Wrist-and-sleeve hold
knee-trip 69
A ground-lock 69
No. II. Throw-at-eyes revolving
knee-kick 7^
No. 12. Double-foot knee-breaker 71
„ No. 13. A kniife-dropping
stomach-cut 7^
No. 14. A jugular-press and arm-trap 72
lO CONTENTS
Defence No. 15. Wrist-pull and hip-kick 73
No. 16. Wrist-pull and trip 74
No. 17. A wrist-parry knee-kick 75
f9 No. 18. A knife-dropping nerve-cut 75
,, No. 19. Arm-break hip-throw 76
n No. 20. Hand-twist and dig 76
Defences against knife attacks with a
walking-stick
Defence No. 21. Wrist-p5rry elbow-blow 77
ff No. 22. Hand-twist and stick-dig 77
Two V. One
Defence No. 23. Hand-twist and elbow-dig 78
„ No. 24. Neck-twist and knee-kick 79
Additional defences 80
CHAPTER SEVEN
Defences against pistol or revolver attacks 81
Defence No. i. Wrist-grip and throat-axe 82
,, No. 2. Bent-arm wrist-breaker 82
No. 3. Wrist-hold, trip-and-push 83
,, No. 4. Double-arm-twist arm-lock 83
Charts showing secret nerve-centres and vital
spots, explaining their actions and reactions
Chart I 85
Chart II 88
IMPORTANT— TEN PRECEPTS
Every student of this Unarmed Combat must
obserye the following ten precepts at all times.
Remember (i) Whilst practising with a part-
ner that locks, holds, throws and
kicks can be injurious to the
person practised upon.
(2) Not to use more force or pres-
sure than is necessary in the
application of locks, holds, etc.,
and not to practise with one
who delights in exhibiting his
strength.
(3) To begin with slow motion, step
by step, and practise until the
complete defence can be per-
formed in one continuous
movement.
(4) That "practice makes perfect".
Practise therefore every de-
fence as often as possible.
(5) To use a rubber dagger at the
start whilst practising the de-
fences against dagger (knife)
II
IMPORTANT — TEN PRECEPTS
attacks, and an actual steel
dagger after gaining experience
to remove the natural fear.
(6) To control your temper, and
never to apply pressure on vital
spots in anger.
(7) Not to attack anyone first, and
always to avoid heated argu-
ments.
(8) Not to use this Art for any evil
purpose or with any evil motive
to bring dishonour on this
Noble Art, and not to hesitate
to resort to it to safeguard your
life and property or the honour
of a woman.
(9) That this Art is primarily in-
tended to suppress crime and
lawlessness of all sorts.
(10) To perform the "Guru Salute"
before practising the defences,
once daily.
PREFACE
As a result of World War II there has been
a continuous and rapid increase in thefts, hold-
ups, highway robberies, molestation of women,
assaults on law-abiding citizens and various other
nefarious activities of the lawless, all ojrer the
world, particularly in Ceylon.
I attribute the increase in these high-handed
activities mainly to the average man's ignorance
of the art of self-defence. The need of the art of
unarmed combat was never more felt at any age
than it is today. In these circumstances I have ac-
ceded to the numerous requests of my pupils and
the admirers of the art to publish some powerful
and simplified defences which could easily be
mastered by all law-abiding citizens.
My eclectic system of "cheena-adi cum ju-
jutsu" self-defence was devised and developed
after twelve years of silent research. In publishing
this system of unarmed combat for the first time,
I have eliminated the superfluous, exhibition and
the sporting sections of both cheena-adi and ju-
jutsu. This system is therefore the best that the
combined art could impart to the average peace-
loving citizen.
13
H PREFACE
My technique is based mainly on the art of
cheena-adi, coupled with the esoteric branch of ju-
jutsu, i.e. the self-defence portion of ju-jutsu,
wrestling and the Indian art of stick-defence.
These defences are in their most refined modern
forms and this volume should meet with every re-
quirement of the average educatd person.
The preparation of this book has taken over
three years. Every lock, every throw and every
type of attack, defence and defensive-offence
given in this volume has been proved flawless.
Whilst promoting all-round physical development,
these defences bring no adverse effects to any part
of the body. Ladies can practise these without any
ill-effects except, of course, during the period of
pregnancy. I would commend this art to eyery
female, as there has been a marked increase in
molestation in the recent past with the narrowing
down of the difference of sex in politics, social
service and employment. All young educated
people should be encouraged to learn the art of
self-defence as this is the only art in the world that
teaches "self-control" both in theory and practice.
It reforms a hot-tempered man into a sober and
cool-hea'ded person. Japanese consider the man
who loses his temper to be one who is mentally not
sound. It is absolutely erroneous to suppose that
a knowledge of the art of self-defence will instil
an excessive degree of the ^'fighting spirit" into
members of the younger generation.
1>REFACE 15
One who has mastered my technique of un-
armed combat explained in this volume, should be
able to multiply them (like permutation and com-
bination) into several more effective defences and
defensive-offences.
It should be the motto of every student of this
art to put down crime and assist the authorities in
weeding out lawlessness in every country. Law-
lessness and crime of any sort in any country must
necessarily diminish with the spread of this most
scientific art of unarmed combat (^iz. : cheena-acii
cum ju-jutsu self-defence) yet devised.
My sincere gratitude is due to my "Guru", the
late Mr. Richard Peries of Kotahena, Colombo,
my pupil-colleague, Mr. N. L V. Fernando, of
the Telegraph Department, and my friend and
pupil, Mr. W. Gunapala, of the Ceylon Govern-
ment Railway.
The late Mr. Richard Peries was one of the
best exponents of the arts of cheena-adi, ju-jutsu,
sword-play and stick defence, Ceylon had ever
produced. Just as a duckling takes to water Mr.
Richard Peries's taste for these arts was inborn.
His father, Mr. Haramanis Peries, who pre-
deceased him, was also an expert in cheena-adi
self-defence Huring his lifetime.
R. A. Vairamuttu
INTRODUCTION
Ju-jutsu is supposeH to have been practised in
Japan for over 2,000 years, and cheena-adi or
China-footing, the Chinese art of unarmed attack
and defence — the older of the two arts — can be
traced to the mythological age. Both these arts
have been jealously guarded secrets for many cen-
turies, and imparted only to well-disciplined
pupils of sound moral character.
To the Gods Kadori and Kashima the Japan-
ese trace the origin of ju-jutsu and believe that the
secrets of this art were revealed to the Samurai
(the warrior caste) who maintained law and order
in the kingdom of Japan.
Though the Chinese art of unarmed combat is
scientifically the best by test, yet nothing is known
about its founder. This art started on its decline
with the disintegration of the Celestial Empire of
China about the fifteenth century. But just as no
secret can always remain a secret, so this system
made secret access to Korea, Japan, Java and
Ceylon. There is no doubt that the Ceylonese and
Javanese have preserved this art in its pristine
purity.
It is believed that, during the Ming Dynasty,
some Japanese went to China to learn their closely
i8
INTRODUCTION
guarded art. CHUEN YUAN PIN or CHIN
GEN PIN of the Chinese Ming Dynasty went to
Japan and taught the art to the Japanese. Akiyama
Shirobie Yoshitoki, a physician of Nagasaki,
Japan, founder of a "RYUGI" (Institution)
known as "YOSHIN-RYU" had learnt the
Chinese art under a Chinese teacher named
HAKU-TEI or PAO-CHUAN in China, ac-
cording to The Art of /u-juisu by E. J. Harrison.
The present high standard of ju-jutsu in Japan is
entirely due to the introduction of the Chinese art
into their system by the few medical men of Japan
who studied both these arts.
During the reign of King Vijaya Bahu VI, a
Chinese eunuch named CHIN-HO was sent to
Ceylon by the Chinese Emperor YUNG-HO of
the Ming Dynasty in the year 1405 to bring the
"DALADA", the sacred Tooth Relic of the Lord
Gautama Buddha.
As his mission was a failure he went back to
China and returned to Ceylon in the year 1410. In
memory of his visit to Ceylon, a carved stone in-
scribed in Chinese, Tamil and Persian characters
was erected in 1409. A British engineer named
H. F. Tomalin, who was employed in Ceylon, hap-
pened to discover in 191 1 that slab of stone with
inscription at Galle, the capital of the southern
province of this beautiful isle. The eunuch
CHIN-HO and his followers were believed to be
adepts in their art of unarmed combat.
INTRODUCTION I9
China's ancient literature has many references
to Ceylon. There are genuine records of pilgrim-
ages of Buddhists from China to Ceylon since the
third century. The famous Chinese explorer Fa
Hien came on pilgrimage to Ceylon in the early
fifth century and visited the holy places of
Buddhism and spent two years in making copies
of Buddhist scriptures. There were constant cul-
tural and commercial relations between China and
Ceylon for several hundreds of years from the third
century. The first Ceylon Embassy in China was
established during the early fifth century about
A.D. 410. Several hundreds of Chinese coins of the
Tang dynasty from the seventh century up to the
Sung dynasty of the thirteenth century have been
unearthed in many parts of Ceylon at different
times.
Although it is believed that the Chinese art of
unarmed combat was first introduced into Japan
during the Ming dynasty in the fourteenth century,
this art found its way into Ceylon hundreds of
years earlier. But the art was not widely imparted
to one and all. The majority of the pupils had to
be satisfied with only a superficial knowledge. As
none of the teachers imparted all the ''secrets" to
any pupil, general enthusiasm gradually faded.
Even today it is the same old story with any
cheena-adi Guru. If anyone ardently desires to
master the advanced secrets of the art, one has to
learn from as many experts as possible and by con-
20
INTRODUCTION
tinuing to learn right through. With every succes-
sive master one undergoes training, one has to
pretend to be a complete novice without exhibiting
the knowledge gained from the previous teacher
or teachers. Thus I have mastered this art and ju-
jutsu self-defence, and ventured to publish this
book for the benefit of educated and law-abiding
citizens.
The two arts which were on the decline, pri-
marily owing to secrecy and also to the limited
numjber of persons to whom the knowledge was
imparted, had a complete revival during the four-
teenth century.
Ju-jutsu developed into various distinct
schools under different teachers, but the revival of
the Chinese art was only short-liyed and began to
decline further and further after the fifteenth cen-
tury.
Ju-jutsu continued to flourish during and after
the lifetime of Professor Jigoro Kano. Dr. Kano
founded the Kano system of ju-jutsu named judo.
His system of judo was recognized by the Japan-
ese Government and adopted by the Army, Navy
and the Police Departments, in all universities and
higher institutions. Every educated male and fe-
male in Japan learned ju-jutsu and it is included
in the curriculum of all educational institutions.
Judo (ju-jutsu) won the admiration of the Oc-
cidentals in view of its efficacy through simplicity.
It was introduced into Great Britain for the first
INTRODUCTION
21
time by Professor Yukio Tani and Raku Uyenishi
between 1895 and 1899, according to E. J.
Harrison in The Art of Ju-jutsu, ^
The first amateur society of judo named the
BUDOKWAI was founded in London by G.
KOIZUMI more than thirty years ago, and its first
instructor was YUKIO TANI. The Japanese
Ambassadors have always been elected as the
Honorary Presidents up to the time of Wolrid
War II. The BUDOKWAI is affiliated to the
KODOKWAN, TOKYO, founded by Dr. Jigoro
Kano of Japan. Now the art of judo (ju-jutsu) is
extensively practised in Britain, Canada, U.S.A.,
France and South Africa and introduced into their
Navy, Army, Air Force and Police Departmients.
Women in the war services have been trained in
ju-jutsu. Women in the Western countries have
taken a keen interest in the art. America has taken
a keener interest in ju-jutsu than any other country
in the world barring Japan. Whether the real se-
crets of advanced ju-jutsu, which are so greatly
treasured by the Japanese and imparted under vow
of strict secrecy to pupils of unquestionable moral
character, have ever been divulged to Occidentals,
is very much open to doubt.
The Eastern arts of unarmed combat are un-
doubtedly superior to the present-day Western
arts of self-defences. The principal systems of
combat and sporting arts in the East and the West
can be tabulated as follows : —
22 INTRODUCTION
EASTERN
1. Judo (or ju-jutsu) of the Japanese. The
art of gentleness, or the soft art.
2. Kempo or Kenjutsu of the Japanese. The
hard art or the art of defence against
armed assailants or sudden attacks.
3. Roku-Shaku-Bo or Han-bo (stick de-
fence) of the Japanese.
4. Sumo or wrestling of the Japanese.
5. Cheena-adi of the Chinese. The most
scientific art of self-defence against as-
sailants armed or not.
6. Gusthi (wrestling) of the Indians. A sport-
ing combat.
7. Lathie or stick defence of the Indians. A
self-defence art against several assail-
ants.
8. Sword display of the Indians.
WESTERN
1 . Boxing (originated in Athens by Theseus,
son of Aegeus, King of Athens).
2. Fencing of the French.
3. Wrestling which is further divided into —
(a) amateur wrestling,
(b) catch-as-catch-can WTestling,
(c) Cumberland and Westmorland
wrestling,
INTRODUCTION 23
(d) Graeco-Roman wrestling,
(e) all-in wrestling.
4. La Savate (foot-fighting) — a French
sport.
5. Shillelagh or cudgel play. Irish.
Combined Arts —
1 . Pancraiion is an old form of Greek physi-
cal contest which is a combination of
boxing and wrestling.
2. Siamese Boxing, In boxing contests in
Siam kicking is also allow^ed.
Although boxing is today considered to be a
Western art its origin has been traced to Athens
round about 900 B.C. It is the third oldest sporting
combat of the world and competitors then fought
with bare fists seated face to face. It was a cruel
sport as both contestants bled profusely. This
form of sport spread into Greece and later Romans
adopted and reformed it.
Foot-racing is considered to be the oldest form
of sport with wrestling as the second oldest in the
world. But Indian Gusthi (wrestling) and Lathie
(stick) defence could be traced many thousands of
years back to the mythological age. The Lathie
defence is also one of the most scientific arts of
self-defence against several, performed w^th sys-
tematic and rhythmical movements of feet and
hands whilst the blows are delivered with the end
and tip at vital spots of the opponents.
24 INTRODUCTION
Ju-jutsu can be divided into three categories
and to be an exponent of this art, a thorough know-
ledge of the three sections must be mastered.
1. Wrestling portion of ju-jutsu
This section teaches only the sporting
and exhibition part of the art. This is
again subdivided into two branches :
(a) Nage-Waza — which deals with
the primary tricks of pulling and
pushing, tripping and other tricks
of breaking the balance of the
opponent.
(b) Katame-Waza — which deals
with the art of holding down an
opponent by means of locks,
holds, etc.
2. The Atemi-W aza or esoteric self-defence
division of ju-jutsu
This deals with effective knock-out blows
dealt at vital spots whethet opponents
are armed or otherwise. This section com-
prises cuts with edge of palms, digs with
fingers or elbows and kicking and hitting
with legs and hands respectively on vital
spots. This portion is taught only under
a vow of secrecy to selected pupils of
sound moral character.
INTRODUCTION
25
3. Katsu or Resuscitation
This section of advanced secrets of ju-
jutsu deals with the art of resuscitation
or revival after the delivery of fatal blows
on opponents. This section also teaches
a unique art of resuscitation from the
after effects of falls, strangulations,
drowning, etc. Katsu should be adminis-
tered immediately after the fatal blows,
drowning or strangulation. This is taught
to a fewer number of far advanced pupils
of unstained moral character under a yow
of strictest secrecy.
The Technique — The fundamental principles
in this unarmed combat are based on balance,
leverage, spring- action, momentum and gravita-
tion. This is an art in which the movement, force,
weight, height, clothing and even the hair on the
head of one's opponent is used to his disadvantage.
Balance is of supreme importance for any form
of physical exertion. Gravity is the force with
which we are attracted to the earth, and the centre
of gravity of any object or person in the normal
course should fall within the base. The moment
an object or person is slanted or tilted the centre
of gravity falls outside the base and the object or
person must necessarily topple unless there be
other support or cause to regain the balance. The
systematic and rhythmic movements of the feet
26
INTRODUCTION
in cheena-adi is to retain unshakable balance at
all times, besides attack and defence.
Leverage movements are important for easy
lifting and throwing and for application of locks
and holds with the least effort and energy.
The vital spots of the human body to which
cuts, digs, blows and kicks are delivered, and the
nerve centres which are pinched, or digs and cuts
administered, must be very carefully studied by
every student of unarmed combat. It will thus be
seen that this scientific art has been deyised with
great skill by master-minds with good knowledge
of human anatomy, science, philosophy and all
important aspects of life. SELF-DEFENCE
and SELF-CONTROL bring SELF-RES-
PECT.
In the lessons which follow I have explained
in pictures and notes some of the principal de-
fences selected from cheena-adi, ju-jutsu, wrest-
ling and stick defences combined, to meet the
requirements of anyone who desires to master this
system of unarmed combat.
Anyone who wants to learn the more advanced
and intricate defences in this technique and the
complete art of cheena-adi can communicate with
me. Such enthusiasts shall always receive my
prompt attention and ready co-operation.
R. A. Vairamuttu
P. O. Box 1063,
Colombo,
Ceylon.
EXPLANATION OF ILLUSTRATIONS 27
Illustration 1
The author twenty-two years back. Still main-
tains a sounU physique.
Illustrations 2-3
This shows the author's everlasting zeal in
physical culture.
Fifteen minutes daily allotted to any form of
"approved" physical exercises would definitely
help one to possess a ^'Healthy Mind in a Healthy
Body".
Illustrations 2 to 9 are included to show^ the
keen interest the author has in physical culture.
Physical culture is not meant for a particular age
but for a lifetime. The author is a life member
of the "Health and Strength League" of Great
Britain, the objects of which are : —
"To bind together in a bond of robust brother-
hood, all physical culturists and athletes through-
out the world. A bond united for the purpose of
disseminating the broad principles of, and in
nature's way promoting the cause of health and
strength," should receive the serious consideration
of every enthusiast of self-defence.
28 EXPLANATION OF ILLUSTRATIONS
Illustrations 4-7
These pictures were taken very recently.
Indian clubs, skipping rope, spring grips and
free-hand exercises have helped the author to
maintain a robust physique throughout for a period
of over twenty-five years.
Physical Culture in Relation to the Art of
Self-Defence
The art of self-defence explained in the forth-
coming chapters is primarily intended for the weak
against the ''mighty". But no one is born to be a
weakling in this world. Negligence of physical ex-
ercise, healthy habits, and yicious negative think-
ing make them so.
Is it not a crying shame to move in society in
a dilapidated, sickly state of health with worn-out,
under-developed and stunted muscles making one
look very much older than one's age? They are
looked down upon by society and they never at-
tract the admiration of the fair sex. They are pitied
even by the fair sex who have now taken up phys-
ical culture, WTCStling and ju-jutsu.
The art of self-defence encourages everyone
to maintain good health in order that they can keep
fit to face eventualities. There is no other royal
road, there is no better patent, than physical exer-
cise to promote a healthy nervous and muscular
explanation of illustrations 29
system. Physical exercises stimulate the entire
body, increase and purify the blood supply and
produce an abundance of yim, vigour and vitality.
Exercises, in addition to cleansing the w^aste
matter of the muscles, remove the poison that gets
into the blood supply. Physical exercises, whilst
developing and strengthening the muscles, tone
up the growth of bones and the function of respi-
ration.
The value of exercises is emphasized as this
is the unique system of producing radiant health,
energy and vitality, whilst giving a medicinal
toning effect to cure constipation, obesity and ner-
vous disorders. Lessons in cheena-adi — this
ancient Asian unarmed combat — are a splendid
course of exercises which promote all-round physi-
cal development. The other most easily accessible
exercises that produce amazingly quick all-round
development are walking, sw^imming, skipping and
Indian club-swinging. Horse riding is also one of
the most splendid all-round exercises though not
easily accessible to all.
Illustration 8
Dipping exercises are some of the most valu-
able exercises for developing the arms and the
upper part of the body.
This exercise is not performed with the palms
placeti flat on the ground, but with the weight of
30 EXPLANATION OF ILLUSTRATIONS
the whole body resting on thumb and first two fing-
ers and toes. Strong fingers are an asset to this art
of self-defence.
Illustration 9
This is one of the most effective balancing
exercises that help in the maintenance of correct
poise in the self-defence feats.
Guru Salute
The fine art of self-defence has, just as any
of the religious doctrines or scientific inventions,
its founder, though unknown. All teachers and
students of this art pay homage and reverence to
the original ''Guru", that unknown founder of this
wonderful art, by a formal salutation immediately
before the performance of any of these feats. Some
teachers go a step further and insist that failure to
perform the *'Guru" salute would develop in them
a tendency to misuse the art.
Illustration (lo) shows the author (on the left)
and his pupils observing the *'Guru" salute known
in cheena-adi as ''Guru-Namaskar".
Study illustration (lo) carefully and never fail
to observe the "Guru Salute" daily before the other
lessons are attempted.
CHAPTER ONE
DEFENSIVE AND OFFENSIVE
POSTURES
This lesson deals with the foot-work of the first
steps in cheena-adi. The purpose of foot-work is
to give correct and easy movements in a struggle.
Whilst practising these you will observe that they
are designed to stress the importance of balance.
You must be in a position to move, side-step, ad-
vance, or back-step with perfect ease and main-
taining perfect balance at all times. Unlike ju-jutsu
where balance helps to defend, the poses in
cheena-adi, whilst giving you unshakeable bal-
ance, also serve as your best offensive positions.
Illustration (i i) shows the normal posture. The
four circles w^hich are about 27 inches apart are for
the guidance of movements. See illustration (12).
This is the first forward movement. Side-step to
circle No. (i) wnth your right foot and take your
left foot forw^ard to circle No. (4), left knee slightly
bent. As the left foot is taken forward the right
foot should be turned out so that it is at right-angles
to the left. You will notice that you are perfectly
at ease in this posture. This is a forward left self-
defensive posture.
31
32 SCIENTIFIC UNARMED COMBAT
Illustration (13) shows arms stiffened with fists
closed and ready for action, is both an offensive
and a defensive position.
Illustration (14) shows the side-step to the left.
Bring your left foot from circle (4) to circle (2)
whilst turning the right foot at circle (i) to right-
angles with the left. This posture is also both offen-
sive and defensive. Left hand to defend and the
right to give a two-finger dig.
Illustration (15) shows the side movement to
the right. This is done by bringing the right foot
from circle (i) to (3). You will notice that the left
foot though unmoved is still at right-angles to the
right. Notice also that the bent left knee straight-
ens as the right knee is bent in changing position
from illustration (14) to (15). This is a forward
right self-defensive posture.
Illustration (16) shows defensive position from
which you can attack in two directions — front and
to your right either with your right hand or right
leg.
A forward offensive and defensive posture is
shown in illustration 17.
Illustration 18 shows a side-defensive posture
and illustration ig a side or forward offensive pos-
ture. Note how in illustration 19 the right hand is
ready to deliver a deadly cut.
Illustration 12 is the reverse of this posture
from which a left-hand cut can be delivered. Simi-
larly illustration 13 is the reverse of 16.
SCIENTIFIC UNARMED COMBAT 33
Mark four circles on a spacious floor and prac-
tise these movements in all directions until you get
used to these movements with perfect ease. The
important feature is to see that one foot is at right-
angles to the other, and the knee of the leg that is
in front is always bent while the other leg is
straight. Movement of one foot and turning of the
other at right-angles should be done simultane-
ously.
This lesson may appear to be rather difficult
and tedious at first sight but nevertheless it must
be thoroughly mastered.
Refer to illustrations 94 to 97 and see how a
favourite revolving knee-kick can be administered
from the position in illustration 14. Instead of
turning at 90 degrees here you revolve on the ball
of your left foot at 180 degrees, and a most effect-
ive knee-kick can be delivered with perfect ease.
By revolving 180 degrees in the opposite direction
from the same illustration (14) on the same foot,
you can give an instep kick at the scrotum, ribs or
at the abdomen.
CHAPTER TWO
DEFENCES AGAINST
A "HAND-SQUEEZE" FROM FRONT
AND "HOLDS'^ FROM BEHIND
Defence 1
Hand-Shake Lock
Some people at times take a great 'delight in
exhibiting their amazing strength by a tight grip
or a hard squeeze, whilst in a supposed friendly
hand-shake. If you happen to be the victim of such
a vicious hand-shake, you will no doubt be placed
in an embarrassing position, particularly so, if it
occurs in the presence of your friends or ladies,
when you are not his physical equal to resist or
retaliate, especially when he makes you rise on
your toes wriggling with pain.
A bully may try this on you through his rowdy
mentality coupled with an air of physical superior-
ity, in order to tease or belittle you in the presence
of his or your friends.
The art of self-defence is the only medium
(a friend-in-need) through which you could not
only free yourself instantaneously from such a sit-
uation, but also teach the opponent a good lesson
as to how his strength succumbs to this art.
34
SCIENTIFIC UNARMED COMBAT 35
Illustration (20) shows how an opponent (in
T-shirt) has secured a tight grip and is squeezing
your hand. You are taken somewhat unaw^ares.
The first thing that should strike your mind is the
self-defensiye posture, by placing the right foot
forward, the knee slightly bent, and the feet at
right-angles to each other {see illustration 20).
Now shift the position of your right foot
from the self-defensive posture by taking a step
towards his right as in illustration (21) in a right-
angular movement, whilst gripping your oppo-
nent's palm held down tightly with downward
pressure, at the same time taking a swift leftward
turn of the body (see illustrations 21 and 22).
Whilst taking the leftward turn bring your left leg
with a swing and place it behind or near your oppo-
nent's right foot as in illustration (22), still main-
taining the grip of your opponent's hand which
gets twisted and bent at the wrist and elbow by
this time, as in illustration (22).
Your opponent's hand gets locked and he will
be helpless in this position. Even a gentle tw^ist
of his hand would make him arch backwards as in
illustration (23) and yell with unbearable pain,
which runs from his wrist right down his arm, spine
and legs to his toes.
If you do not wish your opponent to suffer from
a backward fall causing serious injuries, keep your
left thigh just behind your opponent's right thigh,
and hold the back of his neck with your left open
3'6 SCIENTIFIC UNARMED COMBAT
palm, thus making him realize his folly, when every
inch of his body aches with excruciating pain.
The whole operation from the start of hand-
shake until completion of the "lock" is one contin-
uous movement performed in a flash.
Just visualize within yourself the haughty and
arrogant attitude your opponent adopted when he
squeezed your hand (illustration 20), and the pre-
dicament in which he is placed the very next
moment (illustration 23), brought about by the
simple process of turning and twisting, with sys-
tematic movement of feet performed with little
effort.
Warning
Whilst practising with a partner perform every
move slowly, step by step, being in readiness to
stop short on hearing the word "stop" from the
partner, when he cannot bear the pain any longer.
You will gain speed gradually with constant prac-
tice.
Never practise these locks and defences with
one who delights in exhibiting his strength
or prowess, to avoid disastrous consequences.
Once you have grasped the "technique" of this art
and its underlying principles, you will be in
a position to know (whilst practising these locks,
holds, grips, etc.) when and where to stop at the
"hurting point" without causing any injury to your
partner.
scientific unarmed combat
"Defences for "Holds from Behind'-
37
Defence 2
Flying Mare
Illustration (24) speaks for itself the position
you are placed in, when you are caught from be-
hind, around your arms, unawares. Remember in
such a situation to keep a cool head and to act
swiftly. Bending and low^ering your body slightly,
step forward, raise with a jerk your hands upwards
and sideways, bent at the elbows at right-angles
to the forearms as in (25). This action will loosen
your arms from his hold. Now, with your hands,
grip your opponent's right wrist and straighten
his arm over your right shoulder with a sudden
pull, bringing him close against your back, as in
illustration (26), and throw him forward, as in illus-
tration (27). This throw is popularly known as the
"flying mare". Now proceed with the ground lock,
as in illustration (28), as a further punishment if
you so desire.
Ground- Lock
When your opponent is thrown on the ground,
still maintaining the grip at his right wrist, go down
on your left leg to a squatting position, bringing
your right leg and crossing it over his arm, encirc-
ling same, so that his forearm falls on your calf.
38 SCIENTIFIC UNARMED COMBAT
Now turn his palm upwards as in illustration (28).
His arm can now be dislocated both at the shoulder
and at the elbow joints. With your free right hand
you can deliver a cut at the Adam's apple, jugular
yein, or solar-plexus.
Note : Stop at the position in illustration (27)
whilst practising.
Defence 3
The Right Elbow- Dig
From position in illustration 24, place your
right leg forw\ird as before and relinquishing the
grip as in illustration (25), twist your body towards
the left, as in illustration (29). Keep your oppo-
nent's arms still raised, and give a *'back-hand"
dig at his solar-plexus with your right elbow, as in
illustration (30). All the moves should be done in
a flash.
Reverse the process to give the left elbow dig.
IVarnifig
Whilst practising never giv-e the dig to your
partner, as this is one of the most fatal digs known
to this art of self-defence.
SCIENTIFIC UNARMED COMBAT 39
Defence 4
A Squat-on-Knee Breaker
From position in illustration (24), move one of
your legs sideways, bearing in mind that if your
right leg is moved, you can grip your opponent's
right ankle as in illustration (31) or vice versa.
Raising both your hands up as in illustration (25),
bend down in a flash with hands thrust downwards
and gripping your opponent's ankle quickly raise
his leg with a sudden jerk. Whilst bending down
to grip his ankle give him a push with your but-
tocks. Rest your buttocks on his knee while main-
taining the upward pull at the ankle as in illustra-
tion (32). Your opponent must then fall with a
bruised leg. Further injuries may be caused by
your falling on his abdomen or the back of his head
coming in violent contact against a hard object or
hard ground.
Ground-Lock
Illustration 33
Immediately your opponent falls on his back,
revolve to the right on the ball of your left foot,
and as you do so bring your right leg across with a
swing and place the sole of your right (shoe) foot
at the left thigh of your opponent. At the same
time, trapping his ankle in your right armpit, go
40 SCIENTIFIC UNARMED COMBAT
down to the position seen in illustration (33). Bring
your left forearm under his calf and pull his en-
trapped right foot behind with your back, whilst
pushing hard with your foot at the inner thigh in
a splitting manner. Unbearable pain will be caused
to every inch of his body but felt badly at his hip
joints and spinal column.
Illustration (34) is a variation where the right
foot is placed at his left ankle and his right ankle
is grasped with the left palm and pushed farther
away to bring about the same effect.
Ground-Locks
(applied after throws)
Illustration 35
Holding his right wrist go down to the squat-
ting position on your left leg, whilst shooting your
right leg under his right arm and place same on
his chest. Place the other hand on his cheek and
apply pressure both at his cheek and at the wrist,
palm turned up, using the leg as fulcrum.
This would cause dislocation of the elbow.
Illustration (36) shows a variation where you
go down on your right knee and use the thigh bone
as fulcrum.
SCIENTIFIC UNARMED COMBAT 4I
Defence 5
A ''Back-Heel" Scrotum Kick
In case your opponent referred to in previous
defences happens to be a tall and an extraordin-
arily strong man, he might sometimes raise you
above ground with his hold around your arms. You
will notice that none of the defences explained
earlier could then be applied. As your opponent
lifts you above ground, allow him to do so at ease,
or even just assist him in the act by jerking your-
self up (as in a high jump), and when you are being
lifted up give a sharp back-heel kick at his scrotum.
Warning
Be extremely careful not to kick at the scrotum
whilst practising.
CHAPTER THREE
DEFENCES AGAINST GRIPS AT WAIST
If an opponent gets a firm grip at your trouser
band or any clothing you wear, from the front, as
in illustration (37), with his right hand, there are
various tricks or counter grips, nerve pinches, digs,
etc., to make him release the grip instantaneously.
There are also many locks by the application of
which his arm could be broken or dislocated at the
wrist, elbow or shoulder.
Defence 1
Armpit Collar-Bone Grip
Step forward with your right leg, thrust your
right hand at his right shoulder and obtain a firm
grip with your thumb and first finger, digging your
thumb under the armpit and your first (index)
finger into the hollow behind the collar-bone, as
in illustration (38).
This vice-like grip makes his right arm or eyen
his whole body paralysed.
If your opponent holds you with his left hand
apply the grip with your left hand.
42
SCIENTIFIC UNARMED COMBAT 43
Warning
Be very careful, whilsl practising, not to pull
with this grip on, as the collar-bone will get dis-
located.
Defence 2
Head-to-Foot Twist
From position in illustration (37) thrust both
your hands forward placing the hollow of your
right palm against your opponent's chin and grip-
ping his hair on the back of his head with your left
hand, give a sudden twist to his left side, pushing
with your right and pulling with your left, as in
illustration (39). This will result in your opponent
getting twisted from head to foot and falling on
the ground.
You may then apply any of the ground-locks.
If your opponent happens to be one with a
specially developed strong neck (as that of all-in
wrestlers) place your right leg behind his right leg
and trip him whilst twisting his head sideways.
Defence 3
An Elbow Break
From position in illustration (37) hold his wrist
with your right hand and give a sharp tap with the
little finger side of the clenched fist or the heel of
44 SCIENTIFIC UNARMED COMBAT
your left palm at his elbow. This will dislocate
his right elbow.
Defence 4
Double Nerve- Centre Pinch and Come-Along
Hold
At this stage it will benefit you to understand
the varying degrees of pain brought about by a
normal pinch, a nerve pinch and a nerve-centre
pinch. A knowledge of human anatomy is essential
to understand properly the positions of the nerves
and nerve-centres.
Pinch your own body and note the differences
of pain when you pinch at the nerve-centres ex-
plained in the defences that follow. The strongest
man can be made motionless with these nerve-
centre pinches.
On the nerves and nerve-centres which cannot
be pinched, you can administer cuts, blows, digs
and kicks. The cuts and blows of course are not
limited to nerve-centres, but can be delivered on
all other vital spots.
From illustration (37) you can apply this
double nerve-centre pinch as shown in illustration
(40).
Pinch at your opponent's fleshy space between
the thumb and the first finger with your right
thumb and first finger, thumb placed above and the
scientific unarmed combat 45
first finger underneath (both fingers held as the
claws of a vice). At the same time, pinch with your
left thumb on the nerye-centre at the elbow joint
placing the other fingers underneath. You can lo-
cate these two spots by pinching your own hand.
Where the pain is most severe when pinched are
the identical spots. {See 13 and 14 in chart I, page
85).
If you pinch at these exact spots correctly your
opponent will release his grip immediately, as one
removes his hand when pricked with a pin.
With the pressure of the pinch at the elbow still
maintained, slide your right palm over his hand
and bend down his wrist at right-angles to the fore-
arm, as in illustration (41). Move towards him
bringing his forearm against your body. Releasing
the elbow-pinch, whilst maintaining the downward
pressure at the wrist to prevent his arm being
straightened, slide your left fdrearm round his
elbow, so that the back of his elbow falls into the
crook of your left elbow, as in illustration (42).
Now you will notice that your forearm is at right-
angles to your upper arm and the two forearms
come into line. Open the fingers of your right hand
and place your left palm on his downward bent
hand (a process of transferring the pressure at the
wrist from one hand to the other). After securing
a firm grip with your left hand you can take off your
right hand, as in illustration (42). This is one of the
finest come-along holds.
4'6 SCIENTIFIC UNARMED COMBAT
Warning
Whilst practising never use more pressure than
is necessary as you might damage your opponent' s
wrist.
Defence 5
Elbow- Break and Throw
From position in illustration (40) with the two
nerve pinches, bring his hand to the position in
illustration (43). Raise your opponent's arm and
step forward with the left foot, wheeling to the
right on the ball of your left foot, bring his straight-
ened arm over your left shoulder as in illustration
(44). You can now break his arm at the elbow (using
shoulder as the fulcrum) by applying downward
the pressure at the wrist, or draw him close against
your body and throw him forward. Proceed with a
ground-lock if required {See 111. 28, 35, 36 and 80).
Defence 6
Forelock-Hold, Arm-Lock
If your opponent grips your forelock as in
illustration (45) with his right hand, place the little-
finger-edge side of your left forearm against his
forearm about 2 inches from his wrist towards the
SCIENTIFIC unarmed COMBAT 47
elbow (palm facing him), and bring your right arm
up from underneath enclosing his forearm, and in-
terlock the fingers as shown in illustration (46) ;
and with a scissors-motion, force his hanU down
and away from you. This causes his arm to be bent
at the elbow and gets locked as in illustration (47)
causing unbearable pain.
Warning
Continued downward pressure would dislocate
the shoulder joint. Be extremely careful whilst
practising.
Additional Defences
You can apply the **collar-bone armpit hold*'
described in illustration (38) or administer the two-
finger dig at the solar plexus.
Defence 7
Defences Against a Push-on-the-Chest
A "Spine-Breaker"
If an opponent attempts to push or pushes you
as in illustration (48), strike his hand off with your
clenched left fist in an up and outward motion.
48 SCIENTIFIC UNARMED COMBAT
Shoot both your arms straight through alongside
his waist (between his arms and the body), and lock
your fingers in a chain-grip at his small-of-the-
back, so that the left knuckles come in contact with
his spine. At the same time, butting at the centre
of his chest with your head, draw him in with your
chain-gripped hands as in illustration (49), and
give a sharp pin-point pressure with your protru-
ding left-centre knuckle. This will make your
opponent suddenly flop and bend into an ''S'\ You
can now drop him to fall flat on his back by the
mere separation of your gripped hands and simul-
taneously pushing with your head.
IVarnwg
Be extremely careful whilst practising as the
application of too much pressure would result in
the breakage of his spine.
Defences for Arm-Holds or Pulls
Defence 8
The ''Snake-Coil Grip'' and Arm-Lock
If a bully or rowdy pulls your left arm with his
left hand, and if you happen to be the weaker, you
are very likely to be tumbled down and "lick the
dust". Here again this art will aid you to turn the
tables on the opponent to apply an effortless "arm-
il Training Instructor-
This IS to Certify tfiat
16
43
44
f
SCIENTIFIC UNARMED COMBAT 49
lock'' on that yery arm of his, by a simple process
of twisting and turning your arm, to the astonish-
ment of his or your friends who may be witnessing
the incident.
When your opponent pulls you as in illustra-
tion (50), step forw^ard w^ith your left foot without
offering any resistance, hold round his left elbow
with your right so that your thumb falls on the
nerve-centre of the elbow and the four fingers grip-
ping underneath {see No. 13 in chart I, page 85,
and No. 3 in chart II). Pinch at the nerve-centre
with your right thumb. This will make him sud-
denly loosen his hold, the very moment, without
relaxing the nerve pinch, twist his arm outwardly
towards him by lowering your elbow and raising
your forearm with clenched fist at the same time —
just as a cobra and polonga (snake) coil in a deadly
combat — and turning your palm tow^ards his wrist
with outstretched fingers, seize his wrist firmly with
your left hand in the same manner as the cobra
(after coiling in a deadly combat) w^ould swiftly
turn its hood towards the polonga's head to strike.
A sudden twist at his captured wrist with your left
hand and a simultaneous downward push at his
elbow with your right w^ill bring your opponent to
position shown in illustration (51).
To lower your elbow and raise your forearm,
you should lower your body bending at the knees
and waist slightly, taking your chest forward at the
D
/
50 SCIENTIFIC UNARMED COMBAT
same time. When your forearm comes at right-
angles to the upper arm (in the process of lowering
your elbow), turn your palm and apply the ''snake-
coil-grip".
You will notice that when you lower your elbow
and raise the forearm and turn your palm towards
his wrist, his arm gets automiatically twisted and
his grip becomes infirm. Practise this a dozen times
or more at a stretch until you have mastered the
technique, i.e. when you could apply this grip and
hold in a flash without any effort and without
causing the least pain to your partner.
If your opponent pulls you with his right hand
the same procedure to be adopted reading ' nght"
as "left" and "left" as "right" instead.
Defence 9
Single-Handed Arm Twist or Snake-Coil Grip
When a rowdy or bully seizes your wrist to give
you an admonition, in presence of his friends,
treating you as a physically inferior person or as a
coward, you could apply the same "snake-coil
grip" with your captured arm in a jiffy, as ex-
plained above. In this instance, when you are not
being pulled, you need not use the other hand to
hold his elbow. With the application of the "single-
SCIENTIFIC UNARMED COMBAT 5I
handed snake-coil grip", go on twisting his arm
until his back is turned towards you. Immediately
grip his hair on the back of his head with your free
hand and pull him back, whilst at the same time
twisting at his WTist. He is now forced to form a
semi-circle and strained to look towards the sky ;
and would yell in pain when his shoulder joint and
the whole spinal column begin aching. You may
march him forward to any place you want to take
him.
IV arning
With this snake-coil grip and the hair-grip on,
never give the wrist-twist and a sudden jerking pull
simultaneously. You may cause a breakage of his
spine and damage his shoulder joint as well.
Defence Against Blindfolding from Behind
Defence 10
A Blindfold Shoulder Throw
If an opponent blindfolds you with his hands
from behind as in illustration (52), there is a ten-
dency for you to lean back or to be forced to that
position. Remember that balance is almighty in
52 SCIENTIFIC UNARMED COMBAT
self-defence, and the moment you lose your bal-
ance you lose the battle. Lower your body there-
fore immediately, bringing your left foot behind
to regain your equilibrium. Seize his left wrist with
both your hands, pull him close against your back
and bending forward throw him over your
left shoulder. If you seize his left wrist you could
throw him over your left shoulder [see illustration
(53) ].
CHAPTER FOUR
DEFENCES AGAINST KICKS
There are no safe defences against kicks in
wrestling or in boxing. Expert ju-jutsuans who
know Kenjutsu and the Japanese Sumo wrestlers,
however, have a few defences against kicks.
Legs are the strongest and heaviest limbs of
the body and it therefore follows that a kick can
be more forceful and deadlier than a blow with the
hand on any part of the body except, of course,
yital spots.
Whilst fist blows are aimed mostly above the
waist, kicks can be delivered on any part of the
body ranging from head to foot. Thugs and ruffians
are accustomed to kicking. China-footing is the
only system that teaches the scientific and system-
atic art of defence and attack with the legs, and
against kicks.
Defence 1
A Leg-Hold Turn-Over Throw
Your opponent attempts to kick you with his
right leg as in illustration (54). You immediately
53
54 SCIENTIFIC UNARMED COMBAT
side-step to your left and step forward with your
right leg, bringing your right hand crossing your
body with a circular swinging motion (down and
up), so that his outstretched legs come into rest in
the crook of your right elbow, as in illustration (55).
Raise his entrapped leg with your right arm and
he will fall heavily on his back.
You can also catch his right wrist with your
left hand, as in illustration (56) and throw him
heavily on the ground to his right, by raising his
entrapped right leg and pulling his right wrist
simultaneously.
Defence 2
Ankle-Hold Knee-Breaker
As your opponent kicks, turn to your right, re-
volving on the ball of your left foot, and take your
right leg behind. With an upward swinging motion
of your left arm from below, divert the kick up-
wards away from you with your palm in a control-
ling movement, so that his leg rests in mid-air on
your left palm, and thus keep him balancing on
one foot. The slightest movement, either by you
or by your opponent in this position, will result in
his losing his equilibrium and falling back. Imme-
diately his right foot is brought to rest in mid-air,
trap his ankle under your right armpit as in illus-
tration (57), and placing your left palm on his knee,
SCIENTIFIC UNARMED COMBAT 55
apply pressure. This pressure would give him ex-
cruciating pain and more pressure would dislocate
his knee-joint.
Warning
Never apply sudden pressure on the knee
whilst practising.
Defence 3
Standing Leg-Split
After the leg has been trapped under your right
armpit, and with downward pressure on his knee,
you can switch on to a standing 'T.eg-Split" by
pushing at the side of his left knee with your left
foot and pulling his entrapped ankle back with
your shoulder as in illustration (58).
Warning
Whilst practising do not raise the right leg
high up and do not give too much pressure on the
left knee as the hip joint might get dislocated.
/
CHAPTER FIVE
DEFENCES AGAINST CLUB OR POLE
ATTACKS
When a man is infuriated he does not know
what he is doing. More often than not, in his
desire to revenge himself upon his opponent, he
may use anything that he can lay hands on for the
purpose of a brutal attack. It may be a chair, a pole,
or an iron rod. He will not hesitate to use any of
these if he can smash the head of his opponent or
attack him otherwise.
Many believe that defence against an iron rod
or a pole-attack is well-nigh an impossibility.
Faced with a situation of this nature the paramount
importance of swift action must again be empha-
sized.
You will learn some of the finest defences
known to this art under this head. All students of
the art of self-defence are well advised to master
these lessons thoroughly, and also to practise them
as often as possible to gain both accuracy and
speed.
56
SCIENTIFIC UNARMED COMBAT 57
Defence 1
Arms-Twist and Stomach-Blow
Illustration (59) shows your apparently help-
less position when you are charged by an opponent
who is armed with a rod.
The first idea that should strike your mind is
the defensive posture. The right leg is placed for-
ward in this instance. As he delivers you the blow,
thrust both your open palms against both elbows
of your opponent, so that his elbows alight on the
hollow of your palms, and hold the elbows so that
your thumbs fall inside and the four fingers over-
lapping as in illustration (60). Go down a little by
bending your knees and elbows to give a spring
action to the whole body.
Remember that at any stage your palms should
not be brought lower than the level of your head.
Pass your right hand quickly over his left wrist
and grasp his right wrist from underneath, by
turning the palm, so that the little finger edge
comes up (palm facing him). Straighten your right
arm, and both his arms get twisted as in illustration
(61), so that he cannot even drop the rod.
With your free left hand give a knock-out blow
at the solar-plexus. It may be a two-finger dig or a
left-hand blow with closed fist.
SCIENTIFIC UNARMED COMBAT
Defence 2
Arms-Twist Rod-End Dig
From position in illustration (6i), without de-
livering the knock-out blow, holding the middle of
the rod with your left hand, snatch it off from the
opponent's locked hands and give a dig with the
end of the rod at the solar-plexus.
Defence with a Walking- Stick
Defence 3
A Dig at Temple
If you happen to be in possession of a walking-
stick at the time you are attacked by an opponent,
as in the previous defence, the following ciefences
will prove to be very useful :
As the blow is delivered, hold the walking-stick
with your hands, well aboye your head, allowing a
space of about i8 inches between your hands, and
receive the blow on the middle of your walking-
stick as in illustration (62), with similar spring-
action as explained in illustration (60). Quickly
push his rod forward to his right, and when your
stick falls in line with his temple, give a dig with
the end of your stick at his temple as in illustration
(63). The stick should be slid with your left hand
scientific unarmed combat 59
through the grip of your right hand, as the move-
ment of a piston working through a piston-ring.
Defence 4
A Leg-Trip and Push
From position in illustration (63), get closer to
your opponent by placing your left leg forward,
and maintaining pressure on his rod, give a swing-
iiig-back-kick at the back of his right knee with
your right leg, as shown in illustration (64) to trip
him behind. You can, if you so desire, deliver a
blow at your opponent's chest with the end of your
stick, as you give the kick to trip him.
Additional Defences
Scrotum-Blow or Knee-Break
As a variation you can, from position in illus-
tration (63), give a kick at your opponent's scrotum
or deliver the knee- kick as seen in illustration (97).
Defences Against Club Attacks
Defence 5
An Arm-Lock
Illustration (65) shows that you are on the point
of being attacked with a club by your opponent.
60 SCIENTIFIC UNARMED COMBAT
An assailant may use, instead of a club, a baton,
hatchet or sword. You adjust yourself swiftly to
the defensive posture by placing your left leg
forward in this instance. Illustration (66) explains
how your opponent's hand should be grasped with
your left hand as the blow is delivered. Place your
right leg forward, and at the same time bring your
right hand up from under and give a sharp blow
with the wrist bone (little-finger-edge downwards)
at the offside of his elbow. This makes his right
arm bend inward at the elbow, however strong he
may be. You can now either grasp your left wrist
or his wrist with your right palm, and raise his bent
elbow with your right forearm simultaneously
pressing down his wrist with your hand. The effect
of the lock would cause severe damage to your
opponent's shoulder-blade joints.
Warning
Be extremely careful whilst practising. Avoid
the sharp wrist blow and pressure when bending.
Defence 6
A Hand-Twist and Dig-at-Rib
As the blow is being delivered as in illustration
(65), you side-step to the left, taking the right leg
forward and grasping his wrist in an outward cir-
cular motion as it comes down, thus bringing his
scientific unarmed combat
arm to the position shown in illustration (68). Twist
his arm outwardly with your right hand, and with
your left raise the club, which will twist your oppo-
nent's hand further as in illustration (69), and the
club gets released.
Illustration (70) speaks for itself what you
should then do. This blow should be aimed at the
iJoating rib.
CHAPTER SIX
DEFENCES AGAINST KNIFE OR
DAGGER ATTACKS
Illustration (71) might appear to be rather terri-
fying at first sight. With the knowledge you have
so far gained, and with the self-confidence you
have by now acquired, it should not be so to you.
Here again the paramount importance of calmness
and swift but firm action is emphasized. In contra-
distinction to the lessons given by some other
teachers of this art, the defences described below
are not exclusively based on the power of your
arms. Legs play an all-important part.
Rhythmical, systematic, side-stepping, dodg-
ing, stepping forward, back-stepping, together
with the coordinated movements of the hands arc
special features in these defences. Always keep
your eyes fixed on your opponent's, except to de-
ceive him by lightning changes in your looks, as
occasions demand. You can deceive and puzzle
your opponent by fictitious movements of your
hands and feet, and by grins as well.
When you gain experience you will be able to
read your opponent's next move from his eyes by
62
SCIENTIFIC UNARMED COMBAT 63
intelligent anticipation. Always bear in mind that
he may change hands, change directions, or may
even, whilst threatening you with the knife, resort
to other forms of attack, like a blow with the free
hand or a kick.
A law-abiding citizen resorts to attack with a
knife only when he feels that his chances otherwise
are remote. It is no doubt cowardly to use a knife
either as a means of attack or defence. When one
is being attacked mercilessly and brutally by sev-
eral unscrupulous ruffians or by robbers, the use of
a knife or any other weapon that he can lay hands
on, as a last resort, purely for self-protection, can-
not be classed as either ungentlemanly or
cowardly.
Incidents of this type are not uncommon in all
parts of the world.
Defence 1
Straight- Arm Elbow- Break
In illustration (71) your opponent armed with a
dagger (knife) attempts to plunge the cleadly
weapon into the depths of your heart. You, though
fully on the alert, pretend to be very calm. Note
carefully illustration (71). As your opponent stabs,
you side-step to the left at ninety degrees, the
idea being to avert the direction of the knife. Illus-
tration (72) shows how the knife has missed its
64 SCIENTIFIC UNARMED COMBAT
object. In a split second you grip your opponent's
wrist with your right hand, as shown in illustration
(73), Bring your left leg forward and, placing your
left palm on his right elbow, as in illustration (74),
apply pressure.
W arning
Sudden pressure on the elbow of a straightened
arm as shown would cause dislocation of the elbow.
Do not apply any pressure while practising.
Defence 2
Bent-Arm Lock
Before your opponent's hand gathers momen-
tum on the downward drive, you, with your legs
in the defensive position, grip his wrist with your
left hand, as shown in illustration (75). Bring your
right leg forward quickly to position shown in illus-
tration (76) and apply the lock at lightning speed,
as explained in illustration (67). The front and
back views of this lock are clear in illustrations
(67) and (76) respectively.
Defence 3
Standing-Leg Lock or Knee-Break
From illustration (75) you can apply the stand-
ing-leg-lock, with pressure on the vital spot, just
scientific unarmed combat '65
at the joint where the nose meets the upper lip, as
in illustration (77). The correct way of applymg
this 'nose-press" is to place the sharp edge of your
first finger or thumb at the joint and press in at an
angle of 45 degrees. Try this 'nose-press" on your-
self first.
Defence 4
A Shoulder-Throw
To throw him overhead from position in illus-
tration (73), you can revolve to your right on the
ball of your right foot, and taking your opponent's
arm over your left shoulder throw him as in illus-
tration (78), The other steps of this throw are ex-
plained in illustrations (26) and (27).
Defence 5
A Hip-Throw
Illustration (79) explains another important
throw known as the hip-throw. From position in
illustration (75) as you bring your right leg for-
ward, move your right hand around his stomach,
and placing your hip behind his hip, press him
against your body with your palm placed on his
back. Stoop your body and lifting your opponent
with your hip, throw him whilst simultaneously
pulling his wrist, as in illustration (79), so that he
B
6'6 SCIENTIFIC UNARMED COMBAT
falls heavily on his back in front of you Proceed
with the ground-lock, as in illustration (80).
Ground- Lock
As you throw your opponent in front of you
remember still to maintain the grip of his captured
wrist Place your left foot on the jugular vein ot
your opponent's neck, and gripping his captured
wrist with both your hands, go down on your right
leg You can then place your right foot against
his ribs, and pressing with both your legs, pull the
captured arm with both your hands. See illustra-
tion (80).
Delence 6
Crotch-Hold Roll-over-Shoulders Throw
From position in illustration (75) bring your
right leg forward and place same between your
opponent's feet. Lowering your body slightly
whilst maintaining a firm grip on his captured wrist,
as in illustration (8i\ shoot your right hand be-
twecn his legs and under his crotch.
Bring down your opponent's captured wrist
over your nape and left shoulder, and holdmg it
firmly with a downward pull, lift him above ground
with your right shoulder aided by your right arm,
as in illustration (82). You can now roll him over
scientific unarmed combat 67
your shoulders, as in illustration (83), so that he
falls headlong on the ground with all the fight
knocked out of him.
Defence 7
Roll-Over- Back Throw
From position in illustration (75) place your
right foot forward and whilst bending down, force
his right arm over your back and left shoulder, as
in illustration (84). Entwine his right leg from be-
hind with your right arm, and lift him above
ground, by raising his right leg and pulling down
his right arm simultaneously, whilst straightening
your legs, as in illustration (85).
You can now throw him like a dead weight.
Give a jerking pull at his captured wrist just at
the moment you throw him. Maintain the hold on
the captured wrist for further attack if considered
necessary.
Defence 8
Nape-Hold Somersault Throw
From position shown in illustration (75) bring
your right leg between his legs and lowering his
arm with your left-hand grip, bring your right hand
around his neck entwining it, and get a firm hold
68 SCIENTIFIC UNARMED COMBAT
on the nape with your palm, as in illustration (86).
Slide your right shoulder under his chest whilst
maintaining the firm hold on the nape. Pull him
down as you jerk him up with your hip, as in illus-
tration (87), and dash him on the ground somer-
saulting him right over your shoulder. See illustra-
tion (88) and proceed with ground-lock.
Ground-Lock
Your opponent in this throw falls so that his
legs will be farther away from you, but you will
retain your grip on his right wrist with your left
hand. Change the grip to your right hand on his
right wrist. Immediately grasp his left wrist with
your free left hand and place your right foot on
his right shoulder. Go down on your left leg to sit-
ting position, and placing the left foot on his left
shoulder, pull with your hands whilst pushing with
your legs at his shoulders bringing the elbows over
your legs.
Warning
More force would seriously damage his shoul-
ders and elbow-joints.
Defence 9
Wrist-and-Cheek Hold Leg-Trip
From the position in illustration (7 5) bring your
right foot just behind his right heel, hooking it as
scientific unarmed combat 69
shown in illustration (89). Place your right palm
on your opponent's cheek-bone and trip him up to
your left whilst pushing him on his cheek with your
right and pulling his captured right wrist with your
left hand, so that he falls heavily on his back. The
purpose of placing your foot behind his heel and
hooking it is to prevent him from moving his leg
and regaining his balance. The important point is
to perform the three steps simultaneously.
Defence 10
Wrist-and-Sleeve Hold Knee-Trip
The three illustrations (91, 92 and 93) explain
a similar defence on the same principles as the
previous defence. The difference lies in placing
the right leg against the side of your opponent's
right knee. The hand is not placed on the cheek-
bone but grips the right sleeve of your opponent's
shirt.
Ground- Lock
As your opponent falls on the ground trample
on his right wrist with your left foot and grip his
right sleeve with your left fingers in the same man-
ner. You will note that when you have correctly
gripped the shirt sleeves you will be in a position
to apply pressure on his upper arms cither with
70 SCIENTIFIC UNARMED COMBAT
your knuckles or with the second joints of your
fingers. You will also be able to control him in that
position and pin him to the ground as in illustration
(93)- ^. , ^
Your opponent might endeavour to use his lett
hand to free himself but will be unable to do so as
his hands are almost powerless.
Defence 11
Throw-at-Eyes Revolving Knee-Kick
The defence shown in illustrations (94) to (97)
is a typical trick in ^'cheena-adi" self-defence. As
your opponent thrusts with his dagger take your
right leg behind revolving to your right on the ball
of your left foot, as in illustration (94). Stretching
your right hand take anything that you can get
hold of from the ground, as in illustration (95); be
it pebbles, sand or even dust. Keep your eyes fixed
on his eyes and still keeping the left hand on guard,
as in illustration (95), throw the sand or pebbles
or whatever it is in his eyes, as in illustration (96).
He will naturally close his eyes; and that is the
very moment for you to act. Illustration (97) is self-
explanatory. Revolve back forward on the ball of
your left foot and deliver the kick at his knee. A
kick of this nature may break his leg and put him
out of action for a long time to come.
Even if you do not gather any sand or pebbles
scientific unarmed combat 71
or any object to throw in his eyes, that pretended
action of throwing and sudden opening of the
fingers of your closed fist is sufficient to make him
close his eyes. This is a natural instinct of man
and beast.
Defence 12
Double-Foot Knee-Breaker
The two illustrations (98) and (99) show
another simple but very effective defence.
As your opponent stabs go down on your hands
as in illustration (98), hook the back of opponent's
right ankle with your right foot. Place your left
foot on his knee, as shown in illustration (99) and
apply pressure. This will make him fall on the
ground. A kick at the knee with the left foot will
cause a serious knee-break.
Note : — Going down on your hands should
be well timed.
Defence 13
A Knife -Dropping Stomach-Cut
Your opponent in illustration (100) makes use
of his left hand either as a (defensive or an offensive
measure when he attempts to stab you. Make fic-
titious movements with your hands on the pretext
of stopping his left with your right and grasping
72 SCIENTIFIC UNARMED COMBAT
his right with your left. Bringing your right leg
close to his left foot, quickly revolve outward on
the ball of your right foot to the left, and deliver a
sharp cut with the little-finger-edge of your right
hand at his solar-plexus, as in illustration (loi). A
cut on the solar-plexus will effectively wind him
and keep him half bent, grasping his stomach with
both his hands, finding it difficult to breathe or
straighten his body, as in illustration (102). Never
give the "cut" whilst practising with your partner.
All the moves should be performed in a flash.
Counter : In case you have accidentally given
a **cut" to your partner whilst practising, imme-
iately give the ''counter-blow" with the heel of
your palm on the centre of his back at the spot just
opposite to the solar-plexus. He can then straight-
en up his body and breathe freely. Then rub down
gently at his solar-plexus. If the unfortunate man
who receives the "cut" happens to be your assail-
ant, give the "counter-blow" only after adminis-
tering him a solemn warning, or good advice or
whatever it may be.
Defence 14
A Jugular-Press and Arm-Trap
When your opponent stabs at you, side-step to
the left, lower your body and thrusting up your
scientific unarmed combat 73
right shoulder to come under his armpit, grip him
round his neck with your right arm, placing your
right leg behind him, hip against hip, as in illus-
tration (103). Apply pressure on the left jugular
vein with the narrow^er side of your wrist bone and
lift his right arm with your shoulder. Tightening
of the hold would make him giddy in a few seconds.
He could be tripped and pushed behind if desired.
Defence 15
Wrist-Pull and Hip-Kick
Illustrations (104) and (105) explain fine
cheena-adi feats so easily and quickly performed.
This is more spectacular than a flying-mare, from
which the armed assailant (being kicked or
tripped) goes on toppling for a few seconds and
then falling face downwards "bites the dust".
From position in illustration (73) pull your
opponent, and just as he goes forward flying
past you as in illustration (104), give a sharp (well-
timed) side kick at his hip or buttocks, as in illus-
tration (105). Revolve back in a flash on the ball
of your left foot and watch how your opponent
goes toppling down.
Note : — This is an art in which you have to make
use of your opponent's weight, force, movement,
74 SCIENTIFIC UNARMED COMBAT
apparel, hair, or whatever it is, to your own advan-
tage and to his disadvantage.
For instance, if your opponent rushes at you to
stab, when you seize the wrist holding the knife
and pull your opponent almost in the same direc-
tion, you are making use of his movements and
force in this defence to your advantage and to his
disadvantage. Study carefully the illustrations
(72), (73), (104) and (105).
Defence 16
Wrist-Pull and Trip
This trick is also performed on the same prin-
ciples. Here, instead of kicking at his hip, you trip
him with your right foot at his right ankle just as
he goes flying past you after pulling him, as seen
in illustration (104).
If you inadvertently fail to bring this trick off,
give a sharp kick at his hip or buttocks with your
right foot as in illustration (105).
Note : — The above is a good example of how you
can switch on to another form of attack in a flash
if you do not succeed in one. The foot-attacks in
cheena-adi self-defence are entirely different from
foot-fighting in La Savate.
scientific unarmed combat 75
Defence 17
A WrisT'Parry Knee kick
Your opponent perhaps attempts to rip open
your stomach, as seen in illustration (106). Make
fictitious movements with your hands on the pre-
text of trying to stop his stabbing hand. As the
knife descends slant to your right as in illustration
(107) to avoid it. Now quickly revolve forward on
the ball of your left foot, whilst parrying and push-
ing his knife-hand with your right, and deliver a
kick at his knee (nearest to you), as seen in illustra-
(108) .
Note : — When you revolve on the ball of your
foot, your whole body should move as a door
moves on its hinges.
Defence 18
A Knife-Dropping Nerve-Cut
In illustration (109), as the hand of your oppo-
nent comes down, give a sharp cut at the nerve
which is about 2 inches from the wrist. This cut will
cause your opponent suddenly to stretch his
fingers, and the knife will automatically be
dropped or thrown off. If this cut is properly de-
livered it will paralyse his arm for a short while.
76 SCIENTIFIC UNARMED COMBAT
Defence 19
Arm-Break Hip-Throw
From position in illustration (75), whilst main-
taining your grip of his wrist and placing your
right leg behind him, hip behind hip, bring his
arm over so that his elbow comes over your nape,
and straighten the arm. You can now either break
his elbow or throw him to one side or do both, as
in illustration (no).
Defence 20
Hand-Twist AND Dig
Illustration (in) shows another defence. From
position in illustration (75) twist your opponent's
hand out lowering it, bring your right leg forward
and give a dig with the first two fingers at his solar-
plexus. This dig is deadlier than a fist-blow at this
spot.
Defence Against Knife Attacks with
A Walking-Stick
Although the use of weapons or clubs is not
advocated in this art of unarmed combat, yet if
you are in possession of a walking-stick it may be
scientific unarmed combat 77
used with advantage, as shown in the following
defence.
Defence 21
Wrist-Parry Elbow-Blow
As your opponent stabs, hold your walking-
stick above your head, as shown in illustration (112)
(holding the stick a few inches from the two ends).
When his wrist comes in contact with your
stick, force his hand down to your left, as shown
in illustration (113). Maintaining this pressure
with the left hand, give a sharp elbow blow at his
temple, as shown in illustration (114). The elbow
blow may be given at his jaw bone too.
Defence 22
Hand-Twist and Stick-Dig
From position in illustration (113), maintaining
the downward pressure with the stick with your
right hand, seize his hand with your left hand, so
that the four fingers of your hand overlap the ball
of his thumb, and your thumb placed at the
back of his palm comes in line between the second
and third fingers. Now give a sudden outward twist
and dig at the solar-plexus with the end of the
walking-stick, as shown in illustration (115).
78 SCIENTIFIC UNARMED COMBAT
Defence 23
Twoy. One : Hand-Twist and Elbow- Dig
In illustration (i i6) your assailant comes with
an accomplice to attack you. In such a situation
you should always bear in mind that there is one,
or more, perhaps, behind you to be dealt with.
Keep a cool head at all times even if you are faced
with an armed gang single handed. Your hands
and legs should then come into action at lightning
speed. When you have had constant practice and
enough experience, you will marvel how your
hands and legs think and act automatically and
independently of your brain. A cool head, steel
nerves and tricks, in conjunction with a good
knowledge of this art, can do wonders in the most
difficult situation.
If you are confronted by several opponents,
as a rule, give a quick vital-point knock-out blow
to the leader first or to the one nearest to you, to
send him reeling to the ground. This will certainly
have a *'stunning" effect on his accomplices and
make it easy for you to floor the rest, one by one in
quick succession, with your hands and legs.
In illustration (i i6) your assailant grasps your
left hand at the wrist and elbow, with both his
hands. His accomplice stands behind you and at-
tempts to catch you round your neck from behind,
or to hinder you from taking any offensive action
scientific unarmed combat 79
against his friend — your assailant. With a sudden
outward twisting turn of your left upper arm (using
elbow as a pivot), you could seize your assailant's
left wrist which is automatically brought into your
left hand as in illustration (117), and go on twisting
his arm as seen in the same illustration. At the same
time to deliver a knock-out "right elbow-blow" at
the other's face or jaw. If the latter happens to be
very tall, an elbow-dig can be given at his solar-
plexus to silence him. Deal in a suitable way with
your assailant who is now at your mercy.
Note : — Be extremely careful while practising
with your partners not to deliver the dig or to give
a sudden twist of the arm.
Defence 24
Two v. One : Neck-Twist and Knee-Kick
In the defences shown in illustrations (118) to
(i 2 1), a further complication arises when one of the
opponents is armed with a knife.
In illustration (ti8) the assailant aims a knife
at you whilst his accomplice attempts to seize you
around your neck from behind. You can knock out
both in a jiffy with vital point blows without giving
them the least chance to cause any injury to you.
Seize the stabbing hand, as seen in illustration
8o SCIENTIFIC UNARMED COMBAT
(ii8), before it gathers momentum, at his wrist with
your left hand, and bring it down in the same direc-
tion as his arm travels, giving it an inward twist
at the same time. Immediately throw your right
arm round the accomplice's neck and placing your
four fingers on the nearer side of his nose, force
his head back with an outward twist to his head
so that he may topple over your thigh and leg
placed behind him for that purpose. See illustra-
tion (119). Immediately give a kick at the assail-
ant's knee to disable him. You may not necessarily
stick to this order of attacking. Knock-out blows
can be given to the accomplice first and then to
the assailant or vice versa according to circum-
stances. It does not matter in any way as both the
opponents can be knocked out in a matter of two
or three seconds or almost simultaneously.
If the nose of the accomplice is out of reach
you can catch him by the hair and push his head
away from you as in illustration (121). The assail-
ant with knife can of course be severely dealt with
by delivering a damaging kick at his knee or an
instep kick at his scrotum.
Additional defences : —
Instead of seizing the accomplice's nose
or hair, you can give the fatal right elbow-dig at
his solar-plexus or a fist-blow at his scrotum with
your right hand.
CHAPTER SEVEN
PISTOL DEFENCES
In the illustration (122) your opponent holds
you up for some sinister purpose at the point of a
revolver. As usual he expects you to surrender by
raising both your hands. When doing so remember
not to raise your hands above the leyel of your
head. By all means show him that you have surren-
dered and are prepared to obey any of his com-
mands. Never lose courage. It should be your
scheme to capture though you pretend to be cap-
tureid.
Do not give your opponent the faintest inkling
that you haye in mind to overpower him, lest he
should be still more careful not to give you the
slightest chance. One wrong move would cost you
your life.
When your opponent is confident that you are
not the type who would try to offer resistance or be
aggressive, he will, with his free hand, search your
pockets. Allow him to do so, and while he is at it
is the time for you to act swiftly and effectively.
81
r
82 SCIENTIFIC UNARMED COMBAT
Defence 1
Wrist- Grip and Throat-Axe
In a flash seize your opponent's right wrist with
your left hand and, bringing your left leg forward
at the same time, push his hand down so that the
barrel of the revolver points away from you.
Now bring your right leg forward and give a
sharp cut at his Adam's apple, as in illustration
(123). This cutis known as the "Throat-axe".
Warning : — Never administer the "Throat-axe"
while practising.
Defence 2
Bent-Arm Wrist-Breaker
In illustration (124) your opponent, presum-
ably in haste and with the utmost confidence in his
revolver, aims at your head almost point blank. He
utilizes his other hand to remove your belongings
from your pocket. He tries to take whatever he can
and get away quickly.
Seize his right wrist in a flash with your right
hand (slanting to your right at the same time) and
giving it an outward twist. Immediately grasp his
right hand with your left (the four fingers over-
lapping his thumb and your thumb placed on the
outside of his palm, as explained in illustration
scientific unarmed combat 83
(115); give a further twist to his hand to bend it at
his wrist. Now slide your right hand up bringing
your right thumb side-by-side with your left
thumb, and go on twisting with both your hands
as in illustration (125). Further pressure or a sud-
den twist will cause a dislocation of his wrist.
Defence 3
Wrist-Hold, Trip-and-Push
Illustration (126) explains an additional de-
fence. Seize his right wrist with your left hand from
position shown in illustration (124), and take your
right leg behind his right leg to prevent him from
moving. With the hollow of your palm placed un-
der his chin give a push immediately. Changing
the grip at his wrist with your right palm as he falls,
twist his hand with both your hands, as explained
in the previous defence. His grip of the revolver
will get loosened by your twist and the revolver
will drop to the ground.
Defence 4
Double-Arm-Twist Arm-Lock
Illustration (127) explains a further defence.
From position in illustration (124), swiftly grip the
pistol entrapping his finger in the trigger guard
and give a sudden push upwards.
84 SCIENTIFIC UNARMED COMBAT
Bring your right forearm above his left fore-
arm and pass same alongside his body under his
left upper-arm. Now with a slight outward twist
of your arm and placing the wrist at the back of
his upper arm, hook it with your fist. With an up-
ward jerk on his forearm' with your forearm, and a
little downward pressure with your hooked fist on
his upper arm, you could bend his arm at the elbow
as in illustration (127). At the same time, with ease
you could bring his right arm bent over his neck,
as in the same illustration. This will cause severe
pain to every inch of his body above his waist.
All photographs from Nos. 4 to 128 reproduced
in this book are by TURRET STUDIOS, Ltd.,
Kollupitiya, COLOMBO, CEYLON.
SCIENTIFIC UNARMED COMBAT
85
88 SCIENTIFIC UNARMED COMBAT
CHART I
Given in the order of their vulnerability
A
Nos. 4— 5 --6— lo— 12— 12^
Never attempt to attack your assailant or assail-
ants on the spots mentioned above, unless you are
compelled, under verv trying circumstances, to ex-
ercise your RIGHT OF SELF-DEFENCE, as
a last resort.
Remember that these are VITAL TOUCH-
ES (VARMA-ADI), the results of which would
invariably prove fatal if the cuts, blows or digs
alight on the exact spots.
Note :— Study carefully the COUNTER blow
to revive an assailant receiving a blow, cut or dig
on No. 4, as explained in Defence 13, page 72,
chapter VI, under ['Defences against knife or
dagger aiiacks^\
B
Nos. 7— 8— 8^— 9— 9'- -I I— II'— 15'—
i6^i6\
Resort to these only when you are attacked by
dangerous criminals, or to extricate yourself from
a tight corner when being attacked by a number of
men, or in exercising the RIGHT OF SELF-
DEFENCE.
SCIENTIFIC UNARMED COMBAT 87
A cut, blow, dig or kick (as the case may be)
correctly delivered on the identical spots will
knock out any assailant instantly.
c
Nos. 1—2—3—7—10—11—11^—12—12^
—13— 14— 15— 15^—16— 16\
Nerve pinches, nerve presses, cuts, blows or
digs when correctly applied or administered on
these spots (as the case may be) will have a deadly
effect on any opponent. Anyone can be made to
remain motionless or be put out of action tem-
porarily. A kick with the tip or heel of the shoe on
15 — i5\oron any spot in the bracket 16 — 16\ will
bring about the same result.
Warning
Never give a hard blow on points 10 — 12 — 12^
and 7 — II — 11^ as stated under A and B respec-
tively. Just a mild pressure with the thumb or first
finger on 10, or pressure with the second joints of
your first and second fingers on 7 — 12 — 12\ or a
thrust with the index finger (held rigidly) at 11 or
1 1^ (which is the depression at the end of the jaw-
bone behind the ear-lobe), will be quite sufficient
to obtain the desired effect.
SCIENTIFIC UNARMED COMBAT
Chart 2
SCIENTIFIC UNARMED COMBAT 89
CHART 2
Given in the orHer of their vulnerability
D
No. 6.
It is well advised to avoid causing any injury
to one's coccyx. A kick or a backwarid fall on hard
ground or object could cause severe injury to that
part of the anatomy. Bear in mind that a damaged
coccyx cannot be cured unless removed by surgical
treatment.
No. 5.
A cut with the little-finger-edge of the hand at
the base of the skull is much more deadly than a
fist blow at that spot, and will send exen the strong-
est man reeling to the ground.
Nos. 2 — 2^
These are the ends of the two funny bones at
the elbows. A hard knock at them with the second
joint of the second finger of the closed fist will
totally disable the opponent's arm for several min-
utes.
Never try any of these as a means of attack on
any person other than a hardened criminal.
E
Nos. 1—8—8^—3—7—7^.
These are points where nerve pinches can be
applied with deadly effect. Any strong, boisterous
90 SCIENTIFIC UNARMED COMBAT
or dangerous criminal can be silenceH or brought
under absolute control with a vice-like grip, with
your first finger and thumb held around i or 8.
You can pinch or press with your thumb on 3 —
7 — 7^ while the four fingers are placed around in
support.
Fi
No. 4.
This is the spot where a "counter" blow has to
be given immediately after a "cut" or "dig" on (4)
in chart i , in order to revive the victim.
CONCLUSION
I have laid bare a good number of secrets and
their detailed manipulation in this UNARMED
COMBAT which other teachers have not expli-
citly touched upon, A keen student of this noble art
of self-defence, who has earnestly practised these
defences, studied and mastered my technique
should know HOW, WHEN, WHERE and on
WHOM to administer these nerve-pinches and
vital point blows. The student should also have by
now acquired complete SELF-RELIANCE and
Self-control. Even at this stage I feel it
is not inappropriate to remind one to be extremely
cautious in the exercise of these vital-point blows,
SCIENTIFIC UNARMED COMBAT 9I
as their indiscreet use would defeat the very noble
purpose they are intended to serve. Finally I
should ask every student scrupulously to obserye
the ten precepts at all times. The more knowledge
and experience one acquires in this scientific art the
more cool-headed and self-reliant he should
become.
THE END
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